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Poster: segan63 Date: Apr 24, 2013 7:30am
Forum: GratefulDead Subject: Potential 1984 Release??

On the Sirius XM Grateful Dead Channel over the last couple of days, David Lemieux(Grateful Dead Archivist) has played music from 4/23/84 and 4/24/84(New Haven). Before he played today's selection, he mentioned that he's been listening to a lot of the Spring '84 tour and that he's beginning to think this was a nice little tour(I'm paraphrasing). He also specifically mentioned that if anyone listening wanted to have a release from this tour, they should email him at to send him suggestions.

Lemieux has already picked the Dave's Pick's 7 release(although we don't yet know when it's from). But, now would be the time that he would be starting to look at Dave's Pick's 8. Someone on another site, perhaps, suggested that Dave's Pick's 8 could be tied into an "80's" release. There could be some marketing or at least artwork options from DaP 8 from the 80's.

In any case, any thoughts about the best shows from Spring '84?

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Poster: dirtybuck Date: Apr 24, 2013 8:42pm
Forum: GratefulDead Subject: Re: Potential 1984 Release??

The 2nd night of Hampton has the most powerful Terrapin and Morning Dew I ever saw...Hands down.
4-20-84 is a keeper as well.
Providence 1st night Scarlet/Fire,another great Dew.
It's been a long wait for an 84' release.
Hope it happens soon.

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Poster: Mandojammer Date: Apr 24, 2013 7:45am
Forum: GratefulDead Subject: Re: Potential 1984 Release??

About 6 months ago, stratocaster told us he was doing a "Year in Review" project - 1981 I think. I figured why not so I jumped in and picked 1984 (only because that's when I got married).

I am through June 21st. I had to go back and relisten to several shows to try and resolve a House vs. Board mix issue.

Based solely on my opinion - and framed by the fact that I dropped into the middle of the Lost Decade (1980-1989 was a dry spell with only a couple of SPAC/Glens Falls/Albany/Springfield shows, I saw them initially and the most from '76-'79 and then got busy with the Navy and life and didn't come back until '91 and '94 and only for a handful of shows)

break, break - apologies to our Esteemed Rob The Master Wordsmith (and my 4th Grade English teacher, Mrs. Wamsley) for mangling the English language with that previous run on and incomplete sentence/paragraph. I forgot what I was going to say........

Anyway, here are the shows I thought were pretty good for the Spring 84 run.

4/13 Hampton
4/16 Rochester
4/20 Philadelphia
4/21 Philadelphia
4/27 Providence

Flip a coin between 4/20 and 4/21.

4/23 is what happens when the Grateful Dead take a side job to conduct acoustic waterboarding.

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Poster: ColdRain108 Date: Apr 24, 2013 12:58pm
Forum: GratefulDead Subject: Re: Potential 1984 Release??

4/27 was probably my favorite show of '84. Ripping 11 song first set (no SBD has surfaced), second set is sublime with a decent SBD. What other Rock and Roll band could do China Doll->High Time and have it greeted with rousing aplause? I know I loved it!

I saw a ton of shows that year. The Greeks, SPAC, Ventura, a whole bunch of the East Coast spring and fall tours. The two Shows in Worcester in the Fall would be my next fav's.

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Poster: scotch_glass Date: Apr 24, 2013 4:07pm
Forum: GratefulDead Subject: Re: Potential 1984 Release??

He was probably playing those as he tends to play music from around the dates of the broadcast throughout this history. DL had mentioned in one of his chats before that if there were ever to be a release from '84, it would be the Rochester show from 4/16. It could be a sign of things to come if he has been listening to other '84 shows to make sure he picked the right one.

Did you post a write up for the Rochester show Mando?

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Poster: Mandojammer Date: Apr 25, 2013 7:59am
Forum: GratefulDead Subject: Re: Potential 1984 Release??

Scotch -

Here you go. Rather than clog up the threads with everything I've written so far, I will just post one or two. Don't remember if I posted 4/16 or not, but here it is.

"9. 4/16/84* – Community War Memorial Auditorium, Rochester, NY
(Stand out show)

a. Shakedown Street* – Some say the best years for Shakedown are behind the boys. I don’t think so. Jerry just rips all through the song, but really cuts loose at 7:50 on like a man possessed.
b. Little Red Rooster* – Yikes! Someone must have lit Jerry’s shoe on fire. He goes batshit at 4:50 and must be fretted about an inch away from the pickups. This one just dripped bluesiness. I can see Pig tearing this one up.
c. Peggy O* – Bias warning. I like this tune a lot. Always have and always will. This is also in the category of ‘you may hear a bad recording of Peggy O, but you’ll never hear a recording of a bad Peggy O’. The ‘80s tempo works here. There is a lot of space in between the sound in this source and Phil is well in the front. Keys are not overly bright, but they are still tinkly which seems fitting for the slightly up-tempo pace.
d. Me and My Uncle* – Great work by Jerry. Drummers are mixed in front so they can showcase their drumming skills for cowboy tunes. Clearly by now this is a safe zone song for the boys and they could easily be mailing it in, but I really liked this version.
e. Mexicali Blues* – The spinners must really like MAMU/Mex Blues pairings. Jerry sounds great, he’s up and down the frets with abandon, like he’s borderline out of control, and some of the runs have some jagged edges, but they work and the crowd certainly is enjoying the tune. Standout because of Jerry’s wild ride.
f. Dupree’s Diamond Blues – My gold standard for this tune is 2/22/69 Dream Bowl. This version compares favorably despite the rough rasp and loss of range in Jerry’s vocals. In what is an apparent signature 80s sound, the keys lend a carnival atmosphere to the tune much like the 3/31/84 version. While listening I couldn’t help but conjure up images of monkeys on stage jumping around for the organ grinder. The cowbell makes a guest appearance in a tune other than My Brother Esau - The 3/31 DDB was a little better, but this was still good.
g. Cassidy* – I really like this tune and it is entirely coincidental that it is also Mrs. Mando’s maiden name. Brent’s vocals are really nice. I also like that Mickey and Billy are playing more cymbal and less skin in this tune. Seems like they had to will themselves into the middle jam at the 3:15 mark – but what followed was pretty wild. You can hear Bobby trying to take over starting around 4:30 and there’s what sounds like a duel between Bobby, Jerry and even Phil forcing his way into the front. They come out of the jam very clean into a well controlled finish.
h. West L.A. Fadeaway* – If the rest of the 80s WLF are played this well it was a good decade for the song.
i. Might As Well* – Jerry’s vocals sound terrible, his range is very limited and he seems to struggle at times, but you can tell he’s throwing himself into the song. He belts out a ragged and flat “Never had such a good time” line at 1:55 with a ton of energy and the crowd loves it. This is shaping up to be an excellent show and may prove to be a worthy competitor with the 4/13 show for Stand Out Show of the Year (to date).
j. Hell In A Bucket – Phil sounds good, Jerry is attacking his parts, the piano keys sound good and Bobby’s vocals are solid and strong – the song just doesn’t do anything for me. Even though there are cowbells.
k. Ship of Fools* – Jerry’s strained vocals fit perfectly into this song. What his voice lacks, his guitar runs deliver in spades. Brent’s vocals back Jer very well. Phil has a very nice up front mix and like I’ve said before, it’s hard to screw up a song with B3 keys sound. Yeah, this is another good show.
l. Far From Me – I’m trying to like this song. Jerry’s solo at 2:00 and the riffs leading up to it are fantastic. I think Brent does a better job with backing vocals than lead – this is something that is going to take some time getting used to. I think Brent fans will love this version – I have no historic reference point to compare to. My gut says it was well played, my ears say “We don’t like Brent singing lead.”
m. He’s Gone* – Another favorite tune. Anytime you get a bunch of heads clapping AND keeping time it must okay. This is exactly what I was talking about in the previous song wrt Brent – his backing vocals compliment Jerry very nicely. The Predator chimey thing is back. Someone kill it please. The jam starting around 9:45 is outstanding.
n. Drums* – Not so much stand out because it’s a great version of Drums, but there is something about these 80s Drums/Space pairings that I am really starting to like.
o. Space* – Same thing as Drums – but Drums grew faster on me than Space. I heard - A little Mexicali noodling, some London Bridge Is Falling Down, The Fishin’ Hole (theme from Andy Griffith), precursor TOO teaser around 5:00? You could rename this the Other One Jam.
p. The Other One* – ALRIGHTY NOW THAT WAS FUCKING GOOD!! I know, I know, it’s 84 and there can be only one. But even though we know in the last 8 minutes or so of Space that TOO is coming, Phil’s opening bomb is delivered with laser guided precision. It’s short compared to others, but he springs it on us out of a relatively tame transition jam. It’s like a mini sonic tsunami. Jerry follows with his signature riff and the first couple of notes are all over the place as if he was caught up in Phil’s wave. Clearly the crowd loves it and so do I.
q. Stella Blue* – Stellar. Great guitar effects. Jer’s voice is strained, but he doesn’t sound like he’s struggling with it like in other songs. There’s vulnerability in it when he cracks and that adds to Stella. A perfectly sung Stella is an imperfect Stella? Couple of chimey Predator things, but they are quickly squished. Again – can’t tell if the tune clunked at the end or if the tape was cut.
r. Around and Around* – opening sounds a little subdued – still basking in the Stella Blue afterglow? As long as Bobby doesn’t shriek too much......he’s going to shriek, I can tell. Great B3 keys are providing a shriek buffer. He didn’t shriek! Stand out because he didn’t shriek.
s. Johnny B. Goode* – It’s a safe song, not sure what makes one version stand out over others, but it’s clear that they are delivering the tune to the crowd with a ton of energy. Brent blows up at 2:25 with outstanding Dead Head beat boxing and excellent keys. You can hear the crowd get pulled into the energy.
t. Day Job* – This actually worked very well. I can’t believe I said that.....The lyrics are still bubble gum, but I’m sure everyone left this show with a little hitch in their giddy-up.

This was a stand out show. Looking back over my notes, there weren’t any “bad” songs – only tunes that didn’t stand out for the year in my very subjective grading system. If you were at this show – you enjoyed it."